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Kira Banasińska – Seventy Years in India. From Diplomacy to Kaybee Kira Banasińska -印度七十年。从外交到Kaybee
Art of the Orient Pub Date : 2016-12-31 DOI: 10.15804/aoto201614
Małgorzata Reinhard-Chlanda
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引用次数: 0
A Concept of Comic Dance as Presented in Kāḷi Nāṭakam of Narayana Guru in the Light of His Later Philosophical Works 从那拉衍那古鲁后期哲学著作的角度看其Kāḷi Nāṭakam所呈现的喜剧舞蹈概念
Art of the Orient Pub Date : 2016-12-31 DOI: 10.15804/aoto201610
H. Urbańska
{"title":"A Concept of Comic Dance as Presented in Kāḷi Nāṭakam of Narayana Guru in the Light of His Later Philosophical Works","authors":"H. Urbańska","doi":"10.15804/aoto201610","DOIUrl":"https://doi.org/10.15804/aoto201610","url":null,"abstract":"his article is devoted to the concept of the cosmic dance of the goddess Kāḷi presented in Kāḷi Nāṭakam (the Dance of Kali – KN), composed by Nārāyaṇa Guru (Narayana Guru) in 1887–1897. This hymn can be analysed in the context of later philosophical works written by Guru, especially the last philosophical hymn devoted to Dēvi addressed as Mother of Royal Yoga (rājayōgajananī) – Jananīnavaratnamañjarī (The Bouquet of Nine Gems Devoted to Mother – JNRM), composed in 1909. Other works to be taken into consideration are: Ātmōpadēśa Śatakam (One Hundred Verses of Self-Instruction – AŚ) – a poem composed in Malayalam in 1897 — and Darśana Mālā (Garland of Visions – DM), a philosophical work in ten sections, composed in Sanskrit in 1916. Kāḷi is treated here as an object of devotion, described both in impersonal and personal terms, as a goddess with auspicious qualities while evoking fear at the same time. She is sometimes identified with Śiva; however, as a great","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129922886","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Parinirvāṇa Representations in the Art of Mathura: A Study Based on the Discovery of a Unique Parinirvāṇa Stele from the Varāha Temple of Mathura Parinirvāṇa马图拉艺术中的表现:基于Varāha马图拉神庙中一块独特的Parinirvāṇa石碑的发现的研究
Art of the Orient Pub Date : 2016-12-31 DOI: 10.15804/aoto201603
Vinay Gupta, Monika Zin
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引用次数: 4
The Religious and Social Significance of Chenrezig in Vajrāyana Buddhism. A Study of Select Tibetan Thangkas 观音在Vajrāyana佛教中的宗教和社会意义。西藏唐卡精选研究
Art of the Orient Pub Date : 2016-12-31 DOI: 10.15804/aoto201609
Sama Haq
{"title":"The Religious and Social Significance of Chenrezig in Vajrāyana Buddhism. A Study of Select Tibetan Thangkas","authors":"Sama Haq","doi":"10.15804/aoto201609","DOIUrl":"https://doi.org/10.15804/aoto201609","url":null,"abstract":"he tradition of thangkas has earned itself the merit of pioneering Tibetan art in the 21 century. The purpose behind the effulgent images is not to simply lure worshippers with their exuberant colours and designs; it also follows an intricate system of iconometric and iconologic principles in order to beseech the benefaction of a particular deity. As a result, a thangka is worshipped as a didactic ‘visual aid’ for Tibetan Buddhist religious practices. Tracing the origin of the artistic and socio-cultural practices behind a thangka recreates a texture of Central Asian and Indian influences. The origin of ceremonial banners used all across Central Asia depicts a similar practice and philosophy. Yet, a close affinity can also be traced to the Indian art of paṭa painting, which was still prevalent around the eastern province of India around the Pala period. This present paper discusses the tradition of thangka painting as a medium for visualisation and a means to meditate upon the principal deity. The word thangka is a compound of two words – than, which is a flat surface and gka, which means a painting. Thus, a thangka represents a painting on a flat sur-","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121429622","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Āyāgapaṭas of Mathura 马图拉的Āyāgapaṭas
Art of the Orient Pub Date : 2016-12-31 DOI: 10.15804/aoto201604
K. Kishore
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引用次数: 0
Rāgiṇī Bhairavī. A Case Study of Select rāgacitras from the Miniature Paintings of Mewar (16th–17th Century C.E.) RāgiṇīBhairavī。以16 - 17世纪梅瓦尔微缩画中rāgacitras为例
Art of the Orient Pub Date : 2016-12-31 DOI: 10.15804/aoto201611
Anupama Pande
{"title":"Rāgiṇī Bhairavī. A Case Study of Select rāgacitras from the Miniature Paintings of Mewar (16th–17th Century C.E.)","authors":"Anupama Pande","doi":"10.15804/aoto201611","DOIUrl":"https://doi.org/10.15804/aoto201611","url":null,"abstract":"he concept of painting melodic modes ( rāgas ) constitutes a unique genre of Indian painting. What was its genesis? How was it that an abstract form ( amūrtarūpa ) transformed into a concrete form ( mūrtarūpa ) in a material medium? This paper is divided into two parts; the first part addresses a brief history of Indian music, the antiquity of the rāga form it seeks to investigate and the relationship between music and rāgacitra s. The second part deals with the case study of Rāgiṇī Bhairavī. The Nāṭyaśāstra of Bharata deals with two distinct forms of ancient Indian music d Gandharva and Gāna. Abhinavagupta, the foremost commentator of the Nāṭyaśāstra a carefully distinguishing between the two systems of music. Gandharva music represented the classical form of ancient Indian music, while Gāna or Dhruva-gāna was the music of the theatre, moulded to suit the structure and atmosphere of dramatic plots. The fundamental distinction was that Gandharva music had a rigid framework and was ritualistic music resulting in transcendental merit. On the other hand, Dhruva-gāna was free from rigid, ritualistic restrictions. Its ultimate purpose was to produce rasa, which is an evocative mood created by the art object and thereby imparts pleasure to the audience. The Dhruva songs were set to musical forms such as grāma-rāga s, rāga s, bhāṣā , vibhāṣā etc. Rāga s are explicitly referred to in the seventh century musicological text Bṛhaddeśi of Mātaṅga. He clearly states that ““that which is pleasing to people is called rāga .” 1) T","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"253 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122153771","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
‘Muslim Barbie’ fights for values “穆斯林芭比”为价值观而战
Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto201412
Dominika Łukoszek
{"title":"‘Muslim Barbie’ fights for values","authors":"Dominika Łukoszek","doi":"10.15804/aoto201412","DOIUrl":"https://doi.org/10.15804/aoto201412","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114649873","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Visual art in Indonesia. Introduction 印尼的视觉艺术。介绍
Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto201413
M. Lis
{"title":"Visual art in Indonesia. Introduction","authors":"M. Lis","doi":"10.15804/aoto201413","DOIUrl":"https://doi.org/10.15804/aoto201413","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123808480","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Chinese Embroidered Textiles from the Period between the 18th and the 20th Centuries in the Collection of the National Museum in Warsaw 华沙国家博物馆收藏的18至20世纪中国刺绣纺织品
Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto201506
Katarzyna Zapolska
{"title":"Chinese Embroidered Textiles from the Period between the 18th and the 20th Centuries in the Collection of the National Museum in Warsaw","authors":"Katarzyna Zapolska","doi":"10.15804/aoto201506","DOIUrl":"https://doi.org/10.15804/aoto201506","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"100 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122610588","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Przedmioty kultu lamaiskiego stosowane w obrzędzie Dugżuuba
Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto201210
Aleksandra Wiktoria Martines
{"title":"Przedmioty kultu lamaiskiego stosowane w obrzędzie Dugżuuba","authors":"Aleksandra Wiktoria Martines","doi":"10.15804/aoto201210","DOIUrl":"https://doi.org/10.15804/aoto201210","url":null,"abstract":"The article presents the analysis of the Lamaist ritual Dugzhuuba. It is a great purification service – hural that takes place the day before the New Year according to the lunar calendar. Buddhists believe that participation in this rite purifies them from 64 sins as well as repelling all evil spirits. The most important items of Lamaist cult applied during this ritual are described in the article. Some of them are the balin – figures made of dough that are used as symbolic offerings to Dokshits (the severe deities), soor – a triangle pyramid, and others. In the article it is shown how the pragmatic side of the Buddhist cult, namely the rite Dugzhuuba, reflects and emphasizes the bases of Buddhist philosophy. The specifics of the Lamaist cult among the Buryat is also discussed.","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114152056","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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